Copy/Past: A Hauntological Approach to the Digital Replication of Destroyed Monuments

This article offers a critical analysis of two ‘replicas’ of monuments destroyed by ISIL in 2015: the Institute for Digital Archaeology’s Arch of Palmyra (2016) and the lamassu from Nimrud, exhibited in the Rinascere dalle Distruzioni exhibition (2016). Drawing on Jacques Derrida’s formulation of hauntology and Umberto Eco’s theory of forgery, this study examines the ontological, ethical, and ideological stakes of digitally mediated replication. Rather than treating digital and physical ‘copies’ as straightforward reproductions of ancient ‘originals’, the essay reframes them as specters: material re-appearances haunted by loss, technological mediation, and political discourses. Through a close analysis of production methods, rhetorical framings, media coverage, and public reception, it argues that presenting such ‘replicas’ as faithful restorations or acts of cultural resurrection collapses a hauntological relationship into a false ontology. The article thus shows how, by concealing the intermediary, spectral role of digital modeling, such framings enable the symbolic use of these ‘replicas’ as instruments of Western technological triumphalism and digital colonialism. This research calls for a critical approach that recognizes the ontological peculiarities of such replicas, foregrounds their reliance on interpretive rather than purely mechanical processes, and acknowledges the ideological weight they carry.